Jens Peter de la Fuente speaks on Butoh:

An artist must cross the threshold of the studio and the stage, to place himself in his work at the edge of chaos where, as we know from physics, the flow of energy and the existence of opportunities for transformation and change are the greatest.

At the Academy, Butoh translates to "walk on the road with the same attitude as the Samurai". To survive as a warrior, the Samurai trained himself on three levels: the body, the mind, and the spirit. In Butoh, the dancer must train himself the same way on all three levels of existence. The dancer may achieve a high standard as a performer by training only the physical, but he can reach this high standard and way beyond with less effort, less struggle, and, if any at all, less injuries by integrating the landscapes of the mind and the spirit as active parts of his daily discipline.

In Butoh the expression is in the stillness, in the void, the opening between things, rather than in the in the physical movement, it is in the silence more than in the sound.

When he trains the body, the dancer confronts his culture and the history of past generations carried by the cells of the body. As the they come alive through gestures and movements in the dance, one might say, that, if the dancer is from Iceland, it becomes and Icelandic dance, or if he is an aboriginal from Australia, it becomes an Australian dance.

Butoh is a concept of dance/movement, about placing oneself as a performer in the now, where everything is, to be able to manipulate the physical body and consciously manipulate the energy that moves and surrounds it. As a result, when the performer moves, it is something more than the individual moving. Butoh is ultimately about being present: the dancer placing himself where he has what could be called a free body, becoming a space of controlled energy and transformations.

There is a wonderful freedom and space in moving from the ego to the centre, where the dancer gains a clearer feeling of originality and strength.

More than being reduced to an interpreter of a choreographed ego, the dancer is the dance itself. If there is any effort at all, it will be to dissolve the conflict between the accidental natural element and the controlled human element, discipline in spontaneity and spontaneity in discipline.

Performance is perceived as an opportunity to create rooms for the audience to experience themselves in, to become present in. The choreography, fleeting as a path in a dream, makes one performance slightly different from the next, bringing a distinct freshness and life to the stage. If a certain image or character is desired to appear, it is reached with inner pictures, manipulation of energy, imaginations and dance techniques. The dancer is always in the process of being; energy, history, costume, sound, light and set design coming together presenting a vast space of possibilities.